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16:9 vs. 4:3 for distribution


Tim Carroll

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We are doing some long range planning for a feature we hope to shoot in the next twelve months. We have an ARRI SR1 in Standard 16mm that we want to use for the shoot. We have taped off the fibre optics screen in the past to shoot 16:9 when we were finishing digitally.

 

We hope to sell this feature and are wondering which is the better approach since we are locked into shooting Standard 16mm (for numerous reasons that I will not waste space by listing here).

 

If a distributor loved the project and wanted to buy the film for distribution, does anyone know or have a strong opinion as to whether we should shoot it 4:3, or tape off the fibre optics screen and shoot 16:9 again? I figure if someone is interested in buying the film, they would want to make a film print of it. Does shooting one way or another lock us in or lock us out of a film print for distribution?

 

Or would it be a better idea to shoot the 16:9, while still making sure the 4:3 frame was safe from boom mics and light stands?

 

Thanks for any and all information on this.

-Tim

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Hi,

 

I should point out that I have no experience of film sales, so this is all conjecture which you may wish to overlook.

 

Personally I'd shoot (on a slow, modern stock) for 16:9 but protect the full 4:3 frame. This allows you to create your ideal widescreen transfer and possible blowup easily, but makes it much easier to create the inevitable 4:3 deliverable.

 

Opinions?

 

Phil

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If you compose for 1.85, but keep the taller 1.33 frame protected, you might want to place your 1.85 about half way between common center and common top. Common center always gives you way too much headroom in 1.33, and common top gives you not enough. Split the difference, and you'll be in a better starting place for the repo pass to make the 1.33 version.

 

One of the top TV commercial DP's uses a special ground glass that makes his operators frame very loose. Then he does the final compositions by repositioning in telecine, much the way still photographers shoot a loose neg, and make the exact composition in the darkroom.

 

 

 

-- J.S.

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